AUGUST 10TH-19TH Since 1818 - 199 Years 2017
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Samoan Submission Machines
Samoan Submission Machines: Grappling with Representations of Samoan Identity in Professional Wrestling Theo Plothe1 Savannah State University [email protected] Amongst the myriad of characters to step foot in the squared circle, perhaps no ethnic group has been as celebrated or marginalized as the Samoans who have made their names in professional wrestling. The discussion of Samoan identity in the context of sport has examined Maori identity and masculinity in New Zealand, among other topics, but there has yet to be work which considers Samoans within professional wrestling. This research investigates Samoan identity through a content analysis of televised wrestling matches. This research identifies six primary stereotypes under which Samoan identity is portrayed. These portrayals of Samoan characters, I argue, flatten the representation of this ethnic group within wrestling and culture at large. Keywords: Samoans, identity, representation, gimmicks Introduction Among the myriad of characters to step foot in the squared circle, perhaps no ethnic group has been as celebrated or marginalized as the Samoans who have made their names in professional wrestling. This research investigates the identity of Samoans within professional wrestling, and the different ways they are constructed and presented to audiences. “Gimmicks,” characters portrayed by a wrestler “resulting in the sum of fictional elements, attire and wrestling ability” (Oliva and Calleja 3) utilized by Samoans have run the gamut from the wild uncivilized savage, to the sumo (both in villainous Japanese and comically absurd iterations), to the ultra-cool mogul who wears silk shirts and fancy shoes. Their ability to cut promos, an important facet of the modern gimmick allowing wrestlers to address their opponents and storylines, varies widely as well, but all lie within their Samoan identity. -
Department 5 DRAFT HORSES
Department 5 DRAFT HORSES Sunday Mon Tue Wednesday Thursday Friday Saturday AUGUST 1 2 3 4 Entry Deadline 5 6 7 8 Online 9 10 11 12 deadline 13 14 15 16 17 18 FAIR OPENS 19 20 21 22 23 ARRIVAL 24 2:00 p.m. 25 1:00 p.m. 26 10:00 Youth 6:00 – 10:00 a.m. Halter Classes Quality Hitches Showmanship Riding Classes 7:00 p.m. Log Pulling 3:00 p.m.: Performance Hitches 27 1:00 Gambler’s 28 Choice & Fun Day 8:00 p.m. Release ENTRY: Entries close Aug. 4. Entries must be postmarked by this date. SUPERINTENDENT: Any late entries are subject to double entry fees and prior approval of Rilla Barker Caldwell, Idaho the Superintendent. You may submit your entries online. Online deadline is Aug. 8. Payment JUDGE: must be made with entry. Only Visa and MasterCard accepted online. www.idahofair.com. A $2 per exhibitor convenience fee applies. 1. The Management reserves the right to close entries whenever Because of limited space, livestock and horse trailers can not available space is filled. Ringside Entries are prohibited. be parked inside of the Fairgrounds. To change or add classes for animals already entered, 5. CAMPING: See General Rules and information on page 4 or exhibitor must notify the Premium Office by the evening Website under General Rules. before the show. Entries must be made on forms supplied by 6. ARRIVAL: Draft horses may arrive after 6:00 a.m. the Western Idaho Fair. Entry forms must be completely Wednesday, Aug. -
The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days. -
Saratoga Special Friday, August 11, 2017 Here&There
Year 17 • No. 15 Friday, August 11, 2017 T he aratoga Saratoga’s Daily Racing Newspaper since 2001 Torch Singer Lover’s Key blazes to Statue of Liberty win Tod Marks Tod CANDIP LOOKS TO GET ON TRACK IN TALE OF THE CAT • DAVID DONK STABLE TOUR • ENTRIES/HANDICAPPING 2 THE SARATOGA SPECIAL FRIDAY, AUGUST 11, 2017 here&there... at Saratoga BY THE NUMBERS 2: Cups of Dippin’ Dots left with some picnickers in the backyard by Gary Murray (and kids) before Wednesday’s first race, because No Food in the Paddock. They went back to get them. 7: Golf carts in a gossip scrum on the road by the main track’s three- eighths pole at 8:15 Thursday morning. The mix involved 22 people, several accents and a lot of untrue stories. XXIV: Roman numeral on jock’s agent Angel Cordero Jr.’s hat. LICENSE PLATES OF THE DAY BARN FOX, Virginia. GR8SPA, New York. Thanks to reader Ian Bennett. PICKSIX, Massachusetts. GOT POLO, New York. NAMES OF THE DAY Kristofferson, third race. Maybe he’ll get a push from Glen Campbell (thanks Brooklyn Cowboy). The Intern, seventh race. In honor of The Special’s Madison Scott, who Tod Marks heads off to Australia and the resumption of her Darley Flying Start pro- To lead in a winner at Saratoga, apparently as owner Mike Repole (fourth from gram. Thanks for the hard work. It takes a village. right) brings everybody to the winner’s circle with Driven By Speed after Thursday’s sixth race. Making mischief Street Boss has more Black Tapit.. -
The Oral Poetics of Professional Wrestling, Or Laying the Smackdown on Homer
Oral Tradition, 29/1 (201X): 127-148 The Oral Poetics of Professional Wrestling, or Laying the Smackdown on Homer William Duffy Since its development in the first half of the twentieth century, Milman Parry and Albert Lord’s theory of “composition in performance” has been central to the study of oral poetry (J. M. Foley 1998:ix-x). This theory and others based on it have been used in the analysis of poetic traditions like those of the West African griots, the Viking skalds, and, most famously, the ancient Greek epics.1 However, scholars have rarely applied Parry-Lord theory to material other than oral poetry, with the notable exceptions of musical forms like jazz, African drumming, and freestyle rap.2 Parry and Lord themselves, on the other hand, referred to the works they catalogued as performances, making it possible to use their ideas beyond poetry and music. The usefulness of Parry-Lord theory in studies of different poetic traditions tempted me to view other genres of performance from this perspective. In this paper I offer up one such genre for analysis —professional wrestling—and show that interpreting the tropes of wrestling through the lens of composition in performance provides information that, in return, can help with analysis of materials more commonly addressed by this theory. Before beginning this effort, it will be useful to identify the qualities that a work must possess to be considered a “composition in performance,” in order to see if professional wrestling qualifies. The first, and probably most important and straightforward, criterion is that, as Lord (1960:13) says, “the moment of composition is the performance.” This disqualifies art forms like theater and ballet, works typically planned in advance and containing words and/or actions that must be performed at precise times and following a precise order. -
Professional Wrestling: Local Performance History, Global Performance Praxis Neal Anderson Hebert Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 Professional Wrestling: Local Performance History, Global Performance Praxis Neal Anderson Hebert Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Hebert, Neal Anderson, "Professional Wrestling: Local Performance History, Global Performance Praxis" (2016). LSU Doctoral Dissertations. 2329. https://digitalcommons.lsu.edu/gradschool_dissertations/2329 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PROFESSIONAL WRESTLING: LOCAL PERFORMANCE HISTORY, GLOBAL PERFORMANCE PRAXIS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Theatre By Neal A. Hebert B.A., Louisiana State University, 2003 M.A., Louisiana State University, 2008 August 2016 TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................................................. iv ABSTRACT ......................................................................................................................v -
Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication 1-6-2017 Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans Christian Norman Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Norman, Christian, "Narrative Change in Professional Wrestling: Audience Address and Creative Authority in the Era of Smart Fans." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/communication_diss/77 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. NARRATIVE CHANGE IN PROFESSIONAL WRESTLING: AUDIENCE ADDRESS AND CREATIVE AUTHORITY IN THE ERA OF SMART FANS by CHRISTIAN NORMAN Under the Direction of Nathan Atkinson, PhD ABSTRACT This dissertation project provides a methodological contribution to the field of critical rhetoric by positioning narrative theory as a powerful yet underutilized tool for examining the power dynamic between producer and consumer in a participatory media context. Drawing on theories of author and audience from rhetorical narratology, this study shows how producers of media texts provide rhetorical cues to audiences that allow them to reassert their power in the form of creative authority vis-à-vis consumers. The genre of professional wrestling serves as an ideal text for examining such power dynamics, as WWE has adapted to changing fan participatory behaviors throughout its sixty-year history. Focusing on pivotal moments in which WWE altered its narrative address to its audience in order to reassert its control over the production process, this study demonstrates the utility of narrative theory for understanding how creative authority shows power at work in media texts. -
Rules for Showing
1 RULES FOR SHOWING Edition 21 Revised October 2019 EFFECTIVE 3rd February 2020 PREAMBLE The Rules for Showing are produced specifically for use at CN or lower Status Events and have been drawn up in the broadest possible terms so as to allow Organising Committees affiliated to SAEF and SASA itself, as much freedom as possible in the management of their Events and in the preparation of their schedules. It is not possible to provide for every conceivable eventuality in these rules. If there is no rule to deal specifically with a particular circumstance, or if the nearest interpretation of the pertinent rule would result in an obvious injustice, it is the duty of those responsible to make a decision based on common sense and fair play, using all technical assistance available including official video-recordings (an official video recording is considered to be a recording made by a TV network or video company hired by the organising committee) thus reflecting, as closely as possible, the intention of these rules and of the General Regulations. These rules have to be read in conjunction with the SASA General Rules and Regulations, SAEF General, Veterinary and Anti-Doping Regulations which are uniform for all disciplines falling under SAEF jurisdiction. Although the FEI does not recognise the Showing Discipline as such, the General Regulations and rules of the FEI, unless otherwise stated in these rules, still apply and in consequence, these rules are supplementary to those of the FEI in this respect. In all equestrian sports the interests of the horse must be considered paramount. -
Term: the Policy Is in Force from January 1 to January 1 Each Year
INFORMATION ABOUT THE LIABILITY INSURANCE COVERAGE AUTOMATICALLY PROVIDED IN YOUR EQUINE ASSOCIATION MEMBERSHIP Term: The policy is in force from January 1 to January 1 each year. Your coverage begins and remains in force while you are deemed to be a member in good standing by the association Insurer: Liability Coverage is underwritten by Certain Underwriters at Lloyd’s of London and is administered by CapriCMW Insurance Services Ltd. as the insurance broker Limit: $5,000,000 per occurrence. Coverage Territory - Worldwide SUMMARY DESCRIPTION/INTENT: This insurance protects you against lawsuits that can be brought against you for Bodily Injury or Property Damage claims arising out of the personal ownership or personal use of a horse and / or arising out of your participation in most equine related activities. This policy also includes coverage for legal liability arising from the non-commercial and incidental care, custody and control of non-owned horses (transport, emergency boarding etc.) limit of $10,000 per horse / $50,000 per accident. Special Notes on Coverage Restrictions: i) Coverage excludes any lawsuit brought against you by your own spouse, or by any relative or dependent(s) residing in your household. ii) Coverage excludes the “commercial use” of horses (such as renting them out to others) as well as participation in Rough Stock Rodeo events, pari-mutuel racing, unsanctioned racing activity, providing coaching, lessons, instruction to others for any form of compensation and participation in horse pulling competitions. iii) Use of a horse for equestrian shows or competitions shall not be deemed commercial use; and barrel racing, team roping and team penning shall not be deemed rodeo or racing events. -
3103 Dcag Horsebk
Dutchess County Fair HUNDRETH OPEN Horse Show English u Western Frontier Open Driving u Draft Horse Youth Horse Show Table of Contents u English Horse Show .......................................................................1-16 Rules and Regulations...............................................................................3 Daily Time Schedule .................................................................................5 Class Descriptions.....................................................................................8 Clinic of Champions with Michael O. Page..........................................16 ALL Forms Located in the Center fold (following page 22) Youth Horse Show Form Draft Entry Form Stable Form Open Driving Entry Form Western Frontier Entry Form Marshall & Sterling Application English Entry Form Western Frontier Horse Show .....................................................17-22 Rules and Regulations.............................................................................19 Class List/Schedule..................................................................................20 Open Driving ................................................................................23-26 Rules and Regulations.............................................................................25 Class List/Schedule..................................................................................26 Draft Horse Show .........................................................................27-31 Rules and Regulations.............................................................................29 -
Horse Breeds - Volume 2
Horse breeds - Volume 2 A Wikipedia Compilation by Michael A. Linton Contents Articles Danish Warmblood 1 Danube Delta horse 3 Dølehest 4 Dutch harness horse 7 Dutch Heavy Draft 10 Dutch Warmblood 12 East Bulgarian 15 Estonian Draft 16 Estonian horse 17 Falabella 19 Finnhorse 22 Fjord horse 42 Florida Cracker Horse 47 Fouta 50 Frederiksborg horse 51 Freiberger 53 French Trotter 55 Friesian cross 57 Friesian horse 59 Friesian Sporthorse 64 Furioso-North Star 66 Galiceno 68 Galician Pony 70 Gelderland horse 71 Georgian Grande Horse 74 Giara horse 76 Gidran 78 Groningen horse 79 Gypsy horse 82 Hackney Horse 94 Haflinger 97 Hanoverian horse 106 Heck horse 113 Heihe horse 115 Henson horse 116 Hirzai 117 Hispano-Bretón 118 Hispano-Árabe 119 Holsteiner horse 120 Hungarian Warmblood 129 Icelandic horse 130 Indian Half-Bred 136 Iomud 137 Irish Draught 138 Irish Sport Horse 141 Italian Heavy Draft 143 Italian Trotter 145 Jaca Navarra 146 Jutland horse 147 Kabarda horse 150 Kaimanawa horse 153 Karabair 156 Karabakh horse 158 Kathiawari 161 Kazakh horse 163 Kentucky Mountain Saddle Horse 165 Kiger Mustang 168 Kinsky horse 171 Kisber Felver 173 Kladruber 175 Knabstrupper 178 Konik 180 Kustanair 183 References Article Sources and Contributors 185 Image Sources, Licenses and Contributors 188 Article Licenses License 192 Danish Warmblood 1 Danish Warmblood Danish Warmblood Danish warmblood Alternative names Dansk Varmblod Country of origin Denmark Horse (Equus ferus caballus) The Danish Warmblood (Dansk Varmblod) is the modern sport horse breed of Denmark. Initially established in the mid-20th century, the breed was developed by crossing native Danish mares with elite stallions from established European bloodlines. -
"Luck of the Draw:" Enhancing Safety in Equine University Sport
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 4-30-2015 "Luck of the Draw:" Enhancing Safety in Equine University Sport Angela Barbour [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Biology Commons, Other Animal Sciences Commons, Other Sociology Commons, and the Sports Studies Commons Repository Citation Barbour, Angela, ""Luck of the Draw:" Enhancing Safety in Equine University Sport" (2015). Honors Projects. 172. https://scholarworks.bgsu.edu/honorsprojects/172 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. Running head: “LUCK OF THE DRAW” 1 “Luck of the Draw:” Enhancing Safety in Equine University Sport Angela Barbour Honors Project Submitted to the Honors College At Bowling Green State University in partial Fulfillment of the requirements for graduation with UNIVERSITY HONORS April 30, 2015 ________________________________________, Advisor Dr. Laura Sanchez, Department of Sociology ________________________________________, Advisor Dr. Lee Meserve, Department of Biological Sciences “LUCK OF THE DRAW” 2 Abstract Equestrian sports have the highest rates of injury across all sports with traumatic brain injury rates twice as high as those in football. The goal of this project is to make our university Intercollegiate Horse Show Association (IHSA) athletes safer by creating an easy-to-use tool that athletes can apply to evaluate new horses they ride at competitions. The tool guides team members through evaluation techniques by providing important safety dimensions and scoring guidelines. An undergraduate majoring in biology with an interest in Veterinarian specialization developed the diagnostic tool.